Right from the gimmicky Mardaani national anthem (that has been playing at PVR cinemas) to tasteless scenes of little girls being turned into sex slaves, to the penultimate shot of Mukerji walking away from the action in slow-motion like she was in a Telugu action film remake, the film piggybacks on a social issue without being as sensitive as it wants its characters to be.

Irony dies a painful death when a film against exploitation, does exactly that.

Like all Eid releases featuring Khan, Kick too will probably notch-up record numbers due to its haphazard concoction of romance, comedy, action and drama, and the overwhelming domination of the 48-year-old actor, but the film is only marginally better than other awful Khan films in recent times – Jai Ho, Bodyguard, Dabangg 2. The setting seemed ripe for an entertaining no-brainer, but Kick will remain as forgettable as most money-spinners lately. What’s worst: The villain deserved a much better film.

Pizza is big on visual trickery and distressingly casual as far as things like plot and credulity are concerned…

The third act seems to have been given step-motherly treatment, the writing team struggling to put together the pieces and dispel the confusion without resorting to shortcuts and convenient plot twists. The finale is a mess – and bizarre – undoing a great deal of expectations the film builds up to that point. You look back, then, and find loopholes every step of the way – never a good feeling to carry with you outside a movie theatre.

Watch Fugly only if you are up for some light reading this weekend.

It’s pitiful, because even absurd storylines make for entertaining films if made with an ounce of cleverness and a little integrity. This is purely a rush job, one that – as it happens to the sleeper cells eventually – will turn you into a “coma cell”. And lead to such bizarre lines being written.

Where the film fails spectacularly is in its inability to come together as either an unapologetic camp-fest or serious murder mystery, trying to walk the fine line unsuccessfully. As a movie set against the backdrop of the Hindi film industry, it’s neither outrageous (Om Shaanti Om), nor sardonic (Luck By Chance), and definitely not cheesy enough (The Dirty Picture).

Kabir’s first effort as filmmaker has a couple of redeeming qualities – he shows a flair for dialogues and makes good use of Sanjeev Srivastava’s music – but ends up biting off a lot more than he can chew in a film that can be best described as wannabe-Gangs of Wasseypur-meets-wannnabe-Kill Bill.

O Teri is the rare film where the script, direction, acting and all other departments fail spectacularly. When an actor as good as Vijay Raaz grates on your nerves, you know it’s a disaster.

Of the many things Bewakoofiyaan struggles to say in its two hours-long runtime, one stands out more than the others – the multiplex ticket costs a bomb nowadays. It would be prudent, then, to stay away.